My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

Condition: crisp impression with red edges to the sheet as
published in “Etching & Etchers”, 1968. There are a few light spots on the upper margin (recto) and a few pale touches of
foxing visible verso; otherwise the sheet is in very good condition.

I am selling this extremely rare, original Samuel Palmer
etching for the total cost of AU$698 (currently US$520.99/EUR475.06/GBP397.58
at the time of posting this print) including postage and handling to anywhere
in the world.

If you are interested in purchasing a print by one of
Britain’s most famous artists, please contact me
(oz_jim@printsandprinciples.com) and I will send you a PayPal invoice to make
the payment easy.

An
interesting feature of this deeply romantic image—and a feature that my eyes
keep returning to—is the portrayed standing woman with a pitcher resting on
her head. From what I understand about this curious figure is that her pose is
likely to have its origin in William Blake, Edward Calvert and Palmer’s
fascination with antique carved gems and coins. Blake, for instance, is known
to have copied poses for his figures from Roman bas-reliefs and this particular
pose may be found in his watercolour, “Jacob’s Ladder”. Similarly, Calvert’s
interest in such a classic pose may be seen in his wood engraving, “The Brook.”
Regarding Palmer's interest in antique carvings, he had a plaster cast collection
of them and offered one of his students, Miss Wilkinson, the following
advice in a letter dated 29 May 1862:

“Mr Newman
made me eight or ten of his cedar colour-boxes without partitions, and a little
deeper than usual, in which I possess a fine sculpture-gallery, having filled
them with casts from the finest antique gems. These are
most useful for reference, when working out lines caught from nature. …I would
advise you to collect casts from the best antique gems whenever you can get
them” (Cf Hardie, Martin, 1928, “Samuel Palmer”, London, p. 13).